Tupac Shakur is something that, of course I want to make the Tupac movie, I love Tupac, but when that movie was announced, we didn't even have a script yet. It was just being written. People announce things too soon. If you go to any filmmaker - Clint Eastwood, Oliver Stone, Martin Scorsese, Ben Affleck, Michael Mann - you go in their offices and there are scripts everywhere and there's about four or five of them you really want to make.
France has given us the best filmmakers and food.
A filmmaker has almost the same freedom as a novelist has when he buys himself some paper.
Well, if you ask any filmmaker how they got into it, everyone came a different route. Ive never actually watched another director work.
So there's a choice that I made to tell stories that are still psychological melodramas about domestic issues. The challenge is to figure out how to make 10 films a career as a filmmaker, and that's a really challenging thing.
I keep pushing buttons and trying to grow as a person and as a filmmaker.
As a filmmaker I cannot make anything beautiful. I'm Platonic in that sense.
As a filmmaker, I make the films that I love, that are in my heart. That's what I care about.
I was a filmmaker. I made movies. I made films. And I always took photos and made films, always from the beginning.
I come from a documentary background and my natural tendency, as a filmmaker, is to make a movie, if I have something to talk about. If it's not about anything that matters, I don't feel like doing it. I'm not against people who make movies just for fun, but I'm not one of those guys. I just want to provoke thinking and debating about certain issues.
If you want a film and they don't want you, sometimes you have to go fight for it. Sometimes that ends up just being a meeting really, just sitting down with them and just saying here is my vision for it and here is why I really love it. But for the most part, I think filmmakers gravitate towards people that are excited - as excited as they are about the film and as passionate about it. So sometimes going after it isn't so much a function of auditioning as it is just sitting down with the filmmaker.
For me, it's always filmmaker and then character and then story. They're all equally important but if you don't have a great filmmaker, you will not have a great film unless you just get lucky.
We didn't set out to make some polemic about life in the digital age, I can only react emotionally to story ideas. You hear an idea and you go, 'That's cool. I can see spending a few years of my life working on that. ' As a filmmaker, you approach it like, 'OK. They're going to give you all this money to make this movie. It's like an electric train set you get to play with. '
I know how to write. So I am not totally at the mercy of filmmakers, but it's not a bad point.
The thing is, I'm a very practical filmmaker.
As a female filmmaker it's important to have a voice for and about women. We have a lot of valuable stories to tell and young girls need to hear them.
I make films that are very personal, and I always have. It's kind of the only thing that I think I have to offer as a filmmaker: the intimacy I've had with experience in a particular world, so the film comes from things I've seen and things I've felt. It gets transformed by the process. I don't think I'd ever start making a film until I had both the intimacy with the subject and the distance to make it live in a certain way.
David Lynch was actually the one who first inspired me to become a filmmaker when I was in high school. His films just took me to that dream place that lifts you out of the norm, out of the everyday life, and that is kind of what allured me.
There will be new and exciting filmmakers to come and movies that will be great successes.
I'm only a stupid filmmaker.